纳堤·尤塔瑞作品：野兔奇迹
2008年11月25日，泰国艺术家纳堤·尤塔瑞个展: 透明幸福(Transparency Happiness)在北京索卡艺术中心展出。虽然这是第一位曼谷艺术家在中国的个展，但纳堤已在2007年的泰国当代艺术展(Charm and Chasm)中被中国首都所熟悉。索卡艺术中心将展出纳堤10张刚从画架上完成的新作。画布皆是大尺寸，持续艺术家自2007年以来 "梦想希望与完美的兴味"的表现形式，探讨泰式独特的文化与社会政治主题。
根据艺术家的自述，他一直在努力尝试希望能通过不同的对象来找出属于自己的绘画语言，在本次展览中无意用画面来解释任何理想主义的现象。因为要想达到这个宏伟的目标光凭眼前这些作品是不够的。简单地说，所有这些作品只能以艺术的语言和方式从一些侧面对上述描述过的思想进行部分描述。他更希望观众那按自己的心意去自由理解画面外的含义，因为那才是他想讨论的问题。
艺术家对过去和回忆和感觉让他对亚洲背景下虚幻出来的西方文化比较感兴趣，过去特别是儿时的感觉，这主要参与一些旧的印刷品和老玩具；泰文化中的神话传说；西方对泰国（和世界）历史的影响在他的作品中十分常见。
纳堤·尤塔瑞的作品越来越受欢迎，其中精湛的技巧，就像21世纪中，在亚洲许多名牌林立的购物中心里诱惑着艺术爱好者拥有。在纳堤毋庸置疑的熟练技法背后，是严谨的思考与完全单线方法表述，这让他成为最重要-如果无误的话-为纳堤世代中最重要的艺术家。鉴于过去对感知的提问，追寻表达问题意识的方式，已成为纳堤的研究中心。过去两年的画作，展现艺术家的绘画语言外，也表达对泰国广面的社会关怀。有些在索卡展出的作品（月光星期一，黄旗与橄榄天）与东南亚王国内在情绪相关，可解读为对泰国当代艺术历史来源的大范围文本批判检验的首要议题。其它的作品，(削笔刀，青涩)反映消费主义，顺从，贪婪，战争与文化的意义，提供全球观点。即使有了画布的外表，纳堤是否抛弃以绘画作为实验？并非全然。取而代之的是，艺术家在实质的主旋律更添上一层到他早已令人惊叹且具有概念的作品。
Beijing's Soka Contemporary Space is featuring recent work by Thai artist Natee Utarit in a show called 'Transparency Happiness'. Though this is the Bangkok painter's first solo in China, he will be familiar to those in the Chinese capital who remember several of his pictures from Thai contemporary group exhibition of 2007 'Charm and Chasm'. At Soka Natee presents 10 oils, fresh off the easel. The canvases, all large-scale, continue the exploration of the Thai-specific cultural and socio-political themes first tackled by the artist in his 2007 Bangkok manifestation 'The Amusement of Dreams, Hope and Perfection'.
According to the artist’s statement, it isn’t his intention to explain any kind of idealistic phenomena through the paintings in this exhibit here. That would be asking more of painting than it is capable of achieving. Simply put, all of these paintings were inspired in part by the thoughts he’s elaborated above, using the language and function of art. Anything beyond this he would like to attribute to concepts derived from experience outside the paintings which can explain and answer questions to issues through a process of its own.
Natee's sense of memory and the past led him to the mystification of western civilization in the Asian context: First, a sense of the past, and childhood, in his reference to antique prints and toys; secondly, myths in Thai culture; and finally, Western influence in Thai (and world) history.
The works of Natee Utarit are increasingly sought after, their technical virtuosity seducing a younger generation of art-buyers brought up in the slick and brand-hawking shopping malls of 21st century Asia. But behind Natee's indubitable mastery of paint lies an intellectually rigorous and wholly singular approach to representation that makes him one of the most significant, if misunderstood, artists of his generation. Whereas in the past the questioning of perception, and the modes used to express that questioning, have been at the heart of Natee's search, paintings of the last two years, in addition to their play on artistic language, address Thailand's wider societal concerns. Some of these at Soka (Moonlight Monday, Yellow flag with olive sky) relate to affairs wholly indigenous to the Southeast Asian kingdom and can thus be read in the context of a larger body of Thai contemporary art that puts the critical examination of sources of history at the top of the agenda. Others, (The Shapener; The Green), reflections on consumerism, conformity, greed, war and the meaning of culture, offer universal insights. With these outward-looking canvases has Natee Utarit abandoned painting-as-experirment? Not likely. Instead the artist is adding a layer of thematic substance to his already compelling conceptual repertoire.
纳堤·尤塔瑞作品：带着蓝头套的白马
纳堤·尤塔瑞作品：黄种至上
纳堤·尤塔瑞作品：玫瑰
纳堤·尤塔瑞作品：披着兔皮的木偶
纳堤·尤塔瑞作品：青涩
【编辑： 姚丹】
